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II was a group therapy setting: ten racially mixed individuals together, in a small room, prepared to undergo some of the most intense encounters o( their lives. Footage of the session could have immense impact and drama — assuming cinematographer Edmund Bert Gerard could get it all on film.
"I had no idea beforehand where any specific individual would be seated," writes Mr. Gerard, "so it was impossible to set my lights to accommodate the tremendous range in skin colors. I purposely kept one side of the room dark because 'nolhing-is-supposedto-happen-on-this-side' and because I wanted some silhouette effects. But suddenly all hell broke loose, and one of the group members on the dark side of the room broke down... two therapists rushed over to comfort him ...and I had to pan. changing exposure as I went."
Normally the scene might have come out correctly on film, if Mr. Gerard was able to estimate his foot candles. But guesswork was unnecessary this time; his 16BL was equipped with 'APEC. the Arri Precision Exposure Control, which reads illumination through the camera's lens. "It immediately registered the change and allowed me to instantly compensate for the lower light level. Exposure was on the nose. As it developed, this scene was the most moving of the entire film." Mr. Gerard has many favorable comments on 'APEC "Naturally the system is not automatic. It simply reads the scene and provides the cameraman with the most accurate reflected light measurement possible, continuously visible m the viewfinder scale; now all relevant picture information is always available to the cameraman's eye. Since APEC I've been able to live dangerously with my lighting, yet the exposures are always In the mid
dle of the printing scale. And I couldn't calculate how much time I've saved by not having to walk into the set with a handheld meter, to measure all the delicate lighting balances." Events happen suddenly in documentary shooting, and they change without warning: APEC's main purpose is to keep the cinematographer on top of all this, working with a greater accuracy than he's ever known. States Mr. Gerard in conclusion, "after working with it for almost a year, I cannot understand how I was ever able to get along without it." The point is. now nobody has to.
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— Edmund Bert Gerard discusses some of his experiences with the ARRI PRECISION EXPOSURE CONTROL
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